refer to himself as an abstract painter (Bernier 1955). In 1949/1950, Bazaine had his first major one man show at the Galerie Maeght, who remained his art dealer thenceforth. From then on it was a steady progress of major exhibitions: Bern, Hanover, Zürich, Oslo, and so on. In 1987, Bazaine had a retrospective exhibition in Galerie Maeght, and in 1988, a retrospective of his drawings in the Musée Matisse. And finally in 1990, the Exposition Bazaine in the Galeries Nationales du Grand Palais, Paris., which was accompanied by the reissue of his major texts on painting in art theory as Le temps de la peinture (Paris, Aubier 1990). However, Bazaine's richest contacts with contemporary master-painters were to be within the specialized field of stained glass. Stained glass and mosaic In 1937, at the workshop of the glazier Jean Hébert-Stevens, who worked out Bazaine's first stained glass Les Instruments de la Passion for a private chapel, Bazaine came in contact with Georges Rouault and Georges Braque. Rouault and Braque were also designing glass for church windows. In 1943, Bazaine made three windows for the church of Nôtre Dame de Toute Grace at Assy on the subject of saints related to music, at the glazier's workshop of Marguerite Huré, who showed him the tricks of the trade. With those works, he was to figure in the company of Georges Rouault (stained glass), Henri Matisse (mural), Fernand Léger (mosaic), Pierre Bonnard (painting), Marc Chagall (ceramics), and others. A magnificent catalyst in the debate on modern art and religion at the time was Father Couturier, who had so great an impact on Matisse and his designs for the Vence Chapel, on Dominique de Menil and the Rothko Chapel. It was Father Couturier who brought Bazaine into the project for the Church of the Sacred Heart at Audincourt (1951), where this time Fernand Léger was to design the stained glass (executed by Jean Barillet); to Bazaine fell the mosaic for the outside wall. Later (1954), he also completed the glazed wall of the baptistery. The Eglise de Sacré-Cœur d'Audincourt, built in part with the savings of the industrial workers who composed the parish—and who chose the avowed communist Fernand Léger as their creative (and extremely versatile) main interpreter—stands as one of the great monuments of twentieth-century sacred art. The experience left Bazaine with a fond memory of Léger: It was my first frontwall mosaic (some